“Am I being unreasonable?” he asked Willem after this conversation.
“No,” Willem said, immediately. “It’s fucked up, Jude. He fucked up, and he needs to apologize.”
The show sold out. Willem and the Girl was delivered to him at work, as was Willem and Jude, Lispenard Street, II, which Willem had bought. Jude, After Sickness (the title, when he learned it, had made him so newly angry and humiliated that for a moment he experienced what the saying “blind with rage” meant) was sold to a collector whose purchases were considered benedictions and predictive of future success: he only bought from artists’ debut shows, and almost every artist whose work he had bought had gone on to have a major career. Only the show’s centerpiece, Jude with Cigarette, remained unplaced, and this was due to a shockingly amateurish error, in which the director of the gallery had sold it to an important British collector and the owner of the gallery had sold it to the Museum of Modern Art.
“So, perfect,” Willem said to Malcolm, knowing Malcolm would ferry his words back to JB. “JB should tell the gallery that he’s keeping the painting, and he should just give it to Jude.”
“He can’t do that,” Malcolm said, as appalled as if Willem had suggested simply tossing the canvas into a trash can. “It’s MoMA.”
“Who cares?” Willem asked. “If he’s that fucking good, he’ll have another shot at MoMA. But I’m telling you, Malcolm, this is really the only solution he has left if he wants to keep Jude as a friend.” He paused. “And me, too.”
So Malcolm conveyed that message, and the prospect of losing Willem as a friend had been enough to make JB call Willem and demand a meeting, at which JB had cried and accused Willem of betraying him, and always taking Jude’s side, and obviously not giving a shit about his, JB’s, career, when he, JB, had always supported Willem’s.
All of this had taken place over months, as spring turned into summer, and he and Willem had gone to Truro without JB (and without Malcolm, who told them he was afraid of leaving JB on his own), and JB had gone to the Irvines’ in Aquinnah over Memorial Day and they had gone over the Fourth of July, and he and Willem had taken the long-planned trip to Croatia and Turkey by themselves.
And then it was fall, and by the time Willem and JB had their second meeting, Willem had suddenly and unexpectedly booked his first film role, playing the king in an adaptation of The Girl with the Silver Hands and was leaving to shoot in Sofia in January, and he had gotten a promotion at work and had been approached by a partner at Cromwell Thurman Grayson and Ross, one of the best corporate firms in the city, and was having to use the wheelchair Andy had gotten him that May more often than not, and Willem had broken up with his girlfriend of a year and was dating a costume designer named Philippa, and his former fellow law clerk, Kerrigan, had written a mass e-mail to everyone he had ever worked with in which he simultaneously came out and denounced conservatism, and Harold had been asking him who was coming over for Thanksgiving this year, and if he could stay a night after whoever he invited had left, because he and Julia needed to talk about something with him, and he had seen plays with Malcolm and gallery shows with Willem and had read novels that he would have argued about with JB, as the two of them were the novel-readers of the group: a whole list of things the four of them would have once picked over together that they now instead discussed in twos or threes. At first, it had been disorienting, after so many years of operating as a foursome, but he had gotten used to it, and although he missed JB—his witty self-involvement, the way he could see everything the world had to offer only as it might affect him—he also found himself unable to forgive him and, simultaneously, able to see his life without him.
And now, he supposed, their fight was over, and the painting was his. Willem came down with him to the office that Saturday and he unwrapped it and leaned it against the wall and the two of them regarded it in silence, as if it were a rare and inert zoo animal. This was the painting that had been reproduced in the Times review and, later, the Artforum story, but it wasn’t until now, in the safety of his office, that he was able to truly appreciate it—if he could forget it was him, he could almost see how lovely an image it was, and why JB would have been attracted to it: for the strange person in it who looked so frightened and watchful, who was discernibly neither female nor male, whose clothes looked borrowed, who was mimicking the gestures and postures of adulthood while clearly understanding nothing of them. He no longer felt anything for that person, but not feeling anything for that person had been a conscious act of will, like turning away from someone in the street even though you saw them constantly, and pretending you couldn’t see them day after day until one day, you actually couldn’t—or so you could make yourself believe.
“I don’t know what I’m going to do with it,” he admitted to Willem, regretfully, because he didn’t want the painting, and yet felt guilty that Willem had axed JB out of his life on his behalf, and for something he knew he would never look at again.
“Well,” said Willem, and there was a silence. “You could always give it to Harold; I’m sure he’d love it.” And he knew then that Willem had perhaps always known that he didn’t want the painting, and that it hadn’t mattered to him, that he hadn’t regretted choosing him over JB, that he didn’t blame him for having to make that decision.
“I could,” he said slowly, although he knew he wouldn’t: Harold would indeed love it (he had when he had seen the show) and would hang it somewhere prominent, and whenever he went to visit him, he would have to look at it. “I’m sorry, Willem,” he said at last, “I’m sorry to drag you down here. I think I’ll leave it here until I figure out what to do.”
“It’s okay,” Willem said, and the two of them wrapped it up again and replaced it under his desk.
After Willem left, he turned on his phone and this time, he did write JB a message. “JB,” he began, “Thanks very much for the painting, and for your apology, both of which mean a lot.” He paused, thinking about what to say next. “I’ve missed you, and want to hear what’s been going on in your life,” he continued. “Call me when you have some time to hang out.” It was all true.
And suddenly, he knew what he should do with the painting. He looked up the address for JB’s registrar and wrote her a note, thanking her for sending him Jude with Cigarette and telling her that he wanted to donate it to MoMA, and could she help facilitate the transaction?
Later, he would look back on this episode as a sort of fulcrum, the hinge between a relationship that was one thing and then became something else: his friendship with JB, of course, but also his friendship with Willem. There had been periods in his twenties when he would look at his friends and feel such a pure, deep contentment that he would wish the world around them would simply cease, that none of them would have to move from that moment, when everything was in equilibrium and his affection for them was perfect. But, of course, that was never to be: a beat later, and everything shifted, and the moment quietly vanished.
It would have been too melodramatic, too final, to say that after this JB was forever diminished for him. But it was true that for the first time, he was able to comprehend that the people he had grown to trust might someday betray him anyway, and that as disappointing as it might be, it was inevitable as well, and that life would keep propelling him steadily forward, because for everyone who might fail him in some way, there was at least one person who never would.